{"id":9161,"date":"2023-10-23T15:53:06","date_gmt":"2023-10-23T20:53:06","guid":{"rendered":"https:\/\/www.thefest.com\/?p=9161"},"modified":"2023-10-23T15:53:06","modified_gmt":"2023-10-23T20:53:06","slug":"revolver-deep-dive-part-7-she-said-she-said","status":"publish","type":"post","link":"https:\/\/www.thefest.com\/revolver-deep-dive-part-7-she-said-she-said\/","title":{"rendered":"Revolver Deep Dive Part 7: She Said She Said"},"content":{"rendered":"

Revolver<\/em><\/strong><\/p>\n

Side One, Track Six<\/strong><\/p>\n

\u201cShe Said She Said\u201d<\/em><\/p>\n

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by Jude Southerland Kessler and Christine Feldman-Barrett<\/p>\n

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Through 2023, the Fest for Beatles Fans blog has been enjoying some time well spent with the songs on The Beatles brilliant LP, <\/em>Revolver. This month, Christine Feldman-Barrett <\/strong>joins Jude Southerland Kessler<\/strong>, the author of <\/em>The John Lennon Series<\/strong>, for a fresh, new look at one of the most beloved Beatles tracks of all time. Christine Feldman-Barrett is a youth culture historian and Beatles scholar. <\/em><\/p>\n

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Originally from the United States, she is a Senior Lecturer in the School of Humanities, Languages and Social Science at Griffith University in Queensland, Australia. She is the author of\u00a0A Women\u2019s History of the Beatles<\/strong>, which was published with Bloomsbury in 2021 and was awarded the 2022 Open Publication Prize by the Australia-New Zealand branch of the International Association for the Study of Popular Music (IASPM). Her other publications include\u00a0<\/em>\u201cWe are the Mods\u201d: A Transnational History of a Youth Subculture\u00a0<\/em>(Peter Lang, 2009) and \u2013 as editor \u2013<\/em>\u00a0Lost Histories of Youth Culture\u00a0(Peter Lang, 2015) and<\/em>\u00a0The Life, Death, and Afterlife of the Record Store: A Global History\u00a0(Bloomsbury, 2023). Feldman-Barrett and her work have been featured in the<\/em>\u00a0Washington Post, the<\/em>\u00a0Guardian,\u00a0the\u00a0BBC, and ABC radio Australia. She has appeared as a guest on numerous Beatles podcasts and is on the editorial board of<\/em>\u00a0The Journal of Beatles Studies, which is published by Liverpool University Press.<\/em> And best of all, Christine will be at the New York Fest for Beatles Fans, 9-11 February 2024! Come meet her in person!!!<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

What\u2019s Standard:<\/strong><\/p>\n

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Dates Recorded:<\/em><\/strong> 21 June 1966<\/em><\/p>\n

Time Recorded:<\/em><\/strong> 7.00 p.m. \u2013 3.45 a.m.<\/em><\/p>\n

Studio:<\/em><\/strong> EMI Studios, Studio 2<\/em><\/p>\n

Tech Team:<\/em><\/strong><\/p>\n

Producer:<\/em><\/strong> George Martin<\/em><\/p>\n

Engineer:<\/em><\/strong> Geoff Emerick<\/em><\/p>\n

Second Engineer:<\/em><\/strong> Phil McDonald<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\u00a0In Studio 2, The Beatles worked for 9 (number 9!) hours to record this final song for the <\/em>Revolver LP. \u201cShe Said She Said\u201d came into the session unnamed and unrehearsed. Through 25 takes, the boys assembled all the elements and honed the song. The rhythm track of Take 3 was deemed \u201cbest\u201d and onto this, John superimposed his lead vocal\u2026and John and George dubbed in their backing vocals. As Mark Lewisohn explains in <\/em>The Beatles Recording Sessions, \u201cA reduction mix vacated one of the four tracks where an additional guitar and organ part (played by John) were soon taped.\u201d (p. 84) The role of Paul and the bass line heard on this song will be discussed in the \u201cWhat\u2019s Changed\u201d segment of this blog. <\/em><\/p>\n

\u00a0<\/em><\/p>\n

Instrumentation and Musicians:*<\/em><\/strong><\/p>\n

John Lennon<\/em><\/strong>, the composer,<\/strong> is playing either his 1961 Fender Stratocaster or his 1965 Epiphone ES-230 TD, Casino.<\/em><\/p>\n

Paul McCartney<\/em><\/strong> says he did not <\/strong>sing or play an instrument on this track. (See \u201cWhat\u2019s Changed\u201d)But many sources still list him as providing the bass on his Rickenbacker 4001S before having an argument with one or more of The Beatles and walking out of the session.<\/em><\/p>\n

George Harrison<\/em><\/strong> is playing either his 1961 Fender Stratocaster with synchronized tremolo, his 1964 Gibson SG Standard with Gibson Maestro Vibrato, or his 1965 Epiphone ES-230TD, Casino with Selmer Bigsby B7 vibrato. <\/em><\/p>\n

Ringo Starr <\/em><\/strong>is playing his 1964 Ludwig Oyster Black Pearl \u201cSuper Classic\u201d drum set.<\/em><\/p>\n

*This information is from Hammack\u2019s <\/em>The Beatles Recording Reference Manual, 154.<\/em><\/strong><\/p>\n

\u00a0<\/em><\/p>\n

Sources:<\/em><\/strong> Lewisohn, <\/em>The Complete Beatles Chronicle, 226, Lewisohn, <\/em>The Beatles: The Recording Sessions, 84, <\/em>The Beatles, The Anthology, 209, Margotin and Guesdon, <\/em>All the Songs, 336-337, Winn, <\/em>That Magic Feeling, 27-28, Womack, <\/em>Long and Winding Roads, 142-143, Hammack, <\/em>The Beatles Recording Reference Manual, Vol. 2, 154-156, Rodriguez, <\/em>Revolver: How The Beatles Reimagined Rock\u2019n\u2019Roll, 149-151,\u00a0 Turner, <\/em>A Hard Day\u2019s Write, 111, Davies, <\/em>The Beatles Lyrics, 164-165, Miles, <\/em>Many Years From Now, 288, Spizer, <\/em>The Beatles for Sale on Parlophone Records, 215, Spizer, <\/em>The Beatles Rubber Soul to Revolver, 219, MacDonald, <\/em>Revolution in the Head, 168-169, Mellers, <\/em>Twilight of the Gods, 75-6, Spignesi and Lewis, <\/em>100 Best Beatles Songs,186-188, Spitz, 581, and Riley<\/em>, Tell Me Why, 188-189.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

What\u2019s Changed:<\/strong><\/p>\n

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    \n
  1. Experimentation with Meter<\/strong> \u2013 A month ago, if someone had asked me which Beatle most experimented with meter and tempo changes, I would have swiftly responded, \u201cOh, Paul McCartney.\u201d But as it turns out, that is not true. Here are the songs in which John Lennon experimented with meter change: \u201cBeing for the Benefit of Mr. Kite,\u201d (4\/4 in the verses, 3\/4 waltz in the instrumental bridge), \u201cAll You Need is Love,\u201d (intricately alternates between 4\/4 and 3\/4), and \u201cAcross the Universe\u201d (Verse One is 4\/4 until it reaches the last bit of the verse, \u201cacross the universe,\u201d and that is 5\/4. Verse Four repeats almost the same thing but this time the words \u201cway across the universe\u201d are in 5\/4.) Of course, John also employed myriad meter changes in \u201cI Want You (She\u2019s So Heavy)\u201d and \u201cHappiness is a Warm Gun\u201d (2\/4, 3\/4, and 4\/4!!!)<\/li>\n<\/ol>\n

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    Two of the earliest Lennon\/McCartney songs to dabble in meter change were \u201cWe Can Work it Out\u201d (recorded during 20 October 1965) and \u201cShe Said She Said\u201d from June of 1966. As Ian MacDonald points out in Revolution in the Head<\/em>, \u201cShe Said She Said\u201d is \u201crhythmically one of the most irregular things Lennon ever wrote.\u201d (p. 169) It not only features a signature change into 3\/4 during the \u201cShe said, \u2018You don\u2019t understand what I said.\u2019 I said, \u2018No, no, no, you\u2019re wrong,\u2019\u201d portion of the song. The disjointed, otherworldly sensation of a hazy dream state or an LSD fog \u2013 accentuated by the eerie consideration of \u201cwhat it\u2019s like to be dead\u201d \u2013 manifests in an erratic, herky-jerky zombie-esque arrangement. Dreamlike \u2013 nightmarish, really \u2013 the strange tempo pushes and pulls, threatening to obliterate sanity. It\u2019s a powerful tool placed alongside the unusual instrumentation and The Beatles\u2019 vocal elements.<\/p>\n

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      \n
    1. Possible Limited McCartney Input<\/strong> \u2013 Although \u201cShe Said She Said\u201d was the closing track for Side One of Revolver<\/em>, it was actually the final song recorded<\/em> for the LP. The Beatles had begun work on Revolver<\/em> on Wednesday, 6 April 1966, (Lewisohn, The Beatles: The Recording Sessions<\/em>, 70) and they\u2019d been working quite closely together, hours on end for almost four months. So, it\u2019s no surprise that on this final evening, tensions were running high. Paul recalls, \u201cI think we\u2019d had a barney or something, and I said, \u2018Oh, fuck you!\u2019 and they said, \u2018Well, we\u2019ll do it.\u2019 I think George played bass.\u201d (Margotin and Guesdon, 337) Note: In The Beatles Lyrics<\/em>, Hunter Davies qualifies this by saying, \u201c\u2026Paul does not appear on that track, not as a singer anyway, though he might have added a bit of bass afterwards.\u201d (p. 164)<\/li>\n<\/ol>\n

       <\/p>\n

      However, John C. Winn in That Magic Feeling<\/em> states, \u201cPaul became the first Beatle to walk out on a session when he had an unspecified argument with the others, although not before contributing to the rhythm track.\u201d Hammack in The Beatles Recording Reference Manual <\/em>agrees, saying that on the 21st<\/sup> of June, \u201cTake 3 was best, and a good thing, too, because afterwards, McCartney got in a fight with Lennon and left the studio.\u201d (p. 154) But in Many Years From Now<\/em>, Paul firmly states that he did not perform on the track: \u201cI think it was one of the only Beatles records I never played on.\u201d (Miles, 288) Did he, or didn\u2019t he? This shall remain one of the great mysteries of Beatles history.<\/p>\n

       <\/p>\n

        \n
      1. Lyrics by Lennon and Harrison<\/strong> \u2013 On 21 June 1966, in an interview with Melody Maker<\/em> (which would appear in the magazine on the 25th<\/sup>) John revealed that he still had one song to record for the new LP, but that he had only written \u201cabout three lines so far.\u201d George Harrison recalls trekking over to Kenwood during that time frame to help John \u201cwrap up the composition.\u201d George recalls that he suggested John incorporate a waltz-tempo fragment of a song (\u201cWhen I was a boy, everything was ri-ight\/Everything was ri-ight\u2026\u201d) that John had formerly created and had left unused. George says they worked together to link this song fragment to the rest of \u201cShe Said She Said.\u201d (Winn, That Magic Feeling<\/em>, 27)<\/li>\n<\/ol>\n

         <\/p>\n

          \n
        1. A \u201cStory\u201d Version of Lennon\u2019s Lifelong Theme \u2013 <\/strong>John insisted that while Paul wrote \u201csongs about other things,\u201d John mainly wrote about himself. And in \u201cShe Said She Said,\u201d John is still <\/em>focusing on his autobiographical pain: the devastation that death leaves in its wake, the chaos of sorrow and loss. However, in \u201cShe Said She Said,\u201d John shares this torment via the story of a woman whom he supposedly encounters\u2026a strange female who tells him that she \u201cknows what it\u2019s like to be dead,\u201d that she \u201cknows what it is to be sad\u201d \u2013 a woman who makes him feel as if he\u2019s \u201cnever been born.\u201d In Twilight of the Gods<\/em>, Mellers admits that this appears to be an older woman, perhaps \u201can aunt or mother.\u201d<\/li>\n<\/ol>\n

           <\/p>\n

          Indeed, although the line, \u201cI know what it is to be dead\u201d was inspired by a comment from Peter Fonda at a 1965 Los Angeles pool party, Fonda has nothing to do with the subject of this song. John is once again singing his heart, bemoaning the devastating loss of Julia Lennon, \u201cthe girl in a million my friend.\u201d But here \u2013 for the first time \u2013 he is doing so in a narrative format. In this story-song, the familiar woman who rules his entire musical catalog appears as surreal: as a ghost, a spirit, or a figment of his imagination.<\/p>\n

           <\/p>\n

          This is unique territory for John, who up to this point has stuck very closely and literally to the poignant narrative of Julia\u2019s loss twice in his life: first, when he was separated from her in childhood and later, when as a teenager he lost her a second time, to death. \u00a0In \u201cHelp!,\u201d \u201cI\u2019ll Cry Instead,\u201d \u201cNot A Second Time,\u201d \u201c(You\u2019ve Got To) Hide Your Love Away,\u201d \u201cNowhere Man,\u201d \u201cI\u2019m A Loser,\u201d \u201cJulia,\u201d and so many more, John consistently poured out his heartbreaking tale without imaginative embellishment. But here, the old story \u2013 no less painful in an artful form \u2013 is entangled in the bizarre trappings of a dream state. The same fears, pain, and anguish are merely housed in a unique presentation.<\/p>\n

           <\/p>\n

          A Fresh New Look: <\/strong><\/p>\n

           <\/p>\n

          It was a joy to work \u201cacross the universe\u201d (she, in Australia and I, in Louisiana) with Dr. Christine Feldman-Barrett to trace the musical and storyline innovations inherent in Lennon\u2019s brilliant \u201cShe Said She Said.\u201d Christine will be at the February 9-11, 2024 New York Fest for Beatles Fans to share her respected work on <\/em>A Women\u2019s History of The Beatles. We welcome Christine to the Fest Blog and can\u2019t wait to hear her speak in just a few months!<\/em><\/p>\n

           <\/p>\n

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          Jude Southerland Kessler: \u201cShe Said She Said\u201d has been called one of John\u2019s most revealing biographical songs. Tim Riley in Tell Me Why<\/em> states, \u201cthe singer is wrestling with feelings he barely understands \u2013 inadequacy, helplessness and a profound fear. Because Lennon so obviously feels these emotions as he plays and sings them, the music is a direct connection to his psyche.\u201d (p. 188)\u00a0 What is your reaction to this assessment? <\/strong><\/p>\n

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          Christine Feldman-Barrett:<\/strong> Unless someone had insider information at the time, no one in The Beatles\u2019 audience circa 1966 would have known that the song was about one of John\u2019s first LSD experiences \u2013 nor that that some of its lyrical content was about a \u2018he,\u2019 namely, actor Peter Fonda. Instead, what comes through in the lyrics is very much a sense of emotional confusion. That feeling is certainly key to the words of \u201cShe Said She Said.\u201d However, there\u2019s also an element of intellectual detachment to the narrator\u2019s telling of this story. Unlike 1965\u2019s \u201cHelp!,\u201d which is lyrically direct in showcasing Lennon\u2019s vulnerability, \u201cShe Said She Said\u201d is very much head over heart. Needless to say, a \u201cheady\u201d reading of the song makes perfect sense once listeners know it\u2019s about John Lennon taking a hallucinogenic drug.<\/p>\n

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          The track\u2019s psychedelic origin story aside, what\u2019s especially interesting upon first listen is that it seems the narrator is having a deep and meaningful \u2013 if also somewhat esoteric – conversation with a woman. I don\u2019t think I had ever encountered that kind of male-female dialogue in a song before I listened to \u201cShe Said She Said.\u201d And though the \u201che said\u201d parts of the lyrics are seemingly critical of what the woman is saying, the man in the song is nonetheless hooked into this conversation for a while (until, that is, \u201che\u2019s ready to leave\u201d). As Jacqueline Warwick states in her 2002 book chapter, \u201cI\u2019m<\/em> Eleanor Rigby: Female Identity and Revolver<\/em>,\u201d the song seems to be about \u201ca woman who will not stop talking and a man who doesn\u2019t want to listen (but has difficulty tearing himself away).\u201d (p. 61)The fact that something \u201cshe\u201d says makes the song\u2019s male protagonist want to question his existence was something completely different to my young ears in 1979, and it is definitely something that would have been atypical for a rock song in 1966.<\/p>\n

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          Even when I was a child listening to this track, I liked the idea that the woman in the song \u2013 and her purpose within the lyrical story \u2013 is unusual, mysterious. She does not come across as a love interest, as would hold true for other, earlier Beatles songs or songs by other artists circa 1965 or 1966. Instead, this woman is an enigmatic character who wants to discuss life and death with her conversation partner \u2013 even if it upsets him \u2013 and even if it makes him question his entire sense of self and the world as he knows it.<\/p>\n

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          Along these lines \u2013 with a conflict between man and woman in the lyrics \u2013 I also think about how Cynthia Lennon\u2019s 2005 memoir John<\/em> addresses how her husband\u2019s LSD use affected their marriage. Cynthia had no interest in the drug and found it frightening while John found it profoundly life changing and affirming \u2013 maybe because it brought him out of his \u201cknown self\u201d or challenged his sense of himself as a Beatle. In Cynthia\u2019s estimation, however, LSD drove a wedge through their marriage (see, for example, her thoughts on this in Chapter 13 of John<\/em>). If John\u2019s perspective of himself and the world was forever altered, it created a new type of relational space in which Cynthia likely felt she no longer truly belonged.<\/p>\n

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          Kessler: Christine, the closing song on Side One of a Beatles LP was traditionally something rather remarkable. On Please Please Me,<\/em> it was the title track, \u201cPlease Please Me.\u201d On A Hard Day\u2019s Night<\/em>, it was the Ivor Novello award-winning, \u201cCan\u2019t Buy Me Love.\u201d On Help!,<\/em> the closer was \u201cTicket to Ride.\u201d What elements of \u201cShe Said She Said,\u201d in your opinion, recommend it into this pivotal position on Revolver<\/em>? <\/strong><\/p>\n

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          Feldman-Barrett:<\/strong> That\u2019s a great question. It makes me think about how the other<\/em> closing track on Revolver<\/em>, \u201cTomorrow Never Knows,\u201d is the one that often vies for the spot of \u201cBest Beatles Song\u201d (alongside \u201cA Day in the Life\u201d) in most rankings and lists I\u2019ve come across. But for my money, \u201cShe Said She Said\u201d should be near the top as well. One of the reasons it\u2019s remarkable is because The Beatles \u2013 John first and foremost \u2013 are trying to sonically <\/em>achieve something really very difficult with this song: relaying the experiences of an acid trip.<\/p>\n

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          While we take the notion of \u201cpsychedelic rock\u201d for granted today, the idea of replicating such a singular experience in musical form could not have felt straightforward or easy. While Lennon was able to describe to George Martin the sound and feel he wanted for \u201cTomorrow Never Knows\u201d (i.e., monks chanting from atop a mountain) \u2013 and he had Paul\u2019s tape loops to assist \u2013 how would it be possible for just guitars, drums, and vocals to aurally mirror LSD\u2019s effects? Though I have never taken LSD myself, reading anecdotes about acid trips and having had others share their experiences of them with me, it\u2019s clear that this song is trying to create a sonic representation of something that is often described as comprising many visual sensations and hallucinations. For example, in The Beatles as Musicians: Revolver through Anthology<\/em> (1999),<\/em> Walter Everett theorizes that the lead guitar\u2019s echoing of the vocal melody throughout the song is a motif meant to intimate the visual trails that are said to occur while taking LSD. (p. 66) Moreover, the unusual and changing rhythms of the song \u2013 clearly led by Ringo\u2019s drumming \u2013 seem to capture the oddity of time itself while tripping.<\/p>\n

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          While all music deals with and works within time signatures, trying to get the feeling of psychedelic time distortion just right \u2013 and without the whole song falling apart \u2013 is such an interesting thing for The Beatles to have attempted here. And the fact that it’s mostly achieved through just their playing and singing \u2013 without any overt studio tricks like with \u201cTomorrow Never Knows\u201d \u2013 is phenomenal. For all these reasons, \u201cShe Said She Said\u201d definitely deserves this pivotal position on the Revolver<\/em> LP.<\/p>\n

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          Kessler: Christine, this was the final song recorded for Revolver,<\/em> and Ian MacDonald says \u201cLennon pull[ed] off a last-minute coup with this track, going some way towards evening up the score in his on-going competition with McCartney.\u201d (Revolution in the Head<\/em>, 169) Although Paul has more songs to his credit on the LP than John does, MacDonald says, \u201c\u2018She Said She Said\u2019 is the outstanding track on Revolver<\/em>.\u201d (p. 169) Your reaction?<\/strong><\/p>\n

           <\/p>\n

          Feldman-Barrett:<\/strong> I absolutely agree with Ian MacDonald\u2019s reading of \u201cShe Said She Said,\u201d and I am always surprised when I hear Beatles aficionados dismiss it as a kind of throwaway track. I know that for some, this has to do with the claim that Paul didn\u2019t play bass on it (though the claim is disputed). In any case, that dismissive view of this song is difficult for me to understand. Then again, I am a particular fan of The Beatles\u2019 late \u201965 to early \u201967 sound, and \u2013 to me \u2013 this song typifies everything I love about that period of their music-making.<\/p>\n

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          It\u2019s clear that McCartney\u2019s songs on Revolver<\/em> are magnificent examples of his artistry in so many ways \u2013 and that he was really growing as a songwriter with this album \u2013 but when I think of Revolver<\/em> \u2013 I tend to think of John\u2019s songs first, with \u201cShe Said She Said\u201d and \u201cTomorrow Never Knows\u201d the two that immediately spring to mind. They are both oddly thought-provoking and memorable. While Paul\u2019s songs on Revolver <\/em>are filled with pathos and are finely crafted \u201cstory songs,\u201d I find the otherworldly aural beauty of Lennon\u2019s contributions more intriguing listen after listen. And of all the \u201cJohn songs\u201d on Revolver<\/em>, \u201cShe Said She Said\u201d is the ultimate earworm. Its melody is nothing short of addictive. Little wonder that MacDonald also suggests Lennon is at his creative peak with The Beatles during this time. His songs on Revolver<\/em> \u2013 though fewer in number than those led by McCartney \u2013 are landmark moments in rock music history due to their sheer inventiveness.<\/p>\n

           <\/p>\n

          Kessler: Christine, when this song debuted, I was a pre-teen living in small-town North Louisiana, and I remember being utterly bewildered by the track. Now, thanks in large part to Robert Rodriguez\u2019s book Revolver: How The Beatles Re-Imagined Rock\u2019n\u2019Roll<\/em>, I can appreciate the layered artistry of the work. But it still isn\u2019t one of my favorite Beatles songs. How did you respond when you first encountered \u201cShe Said She Said,\u201d and how do you see it now?<\/strong><\/p>\n

           <\/p>\n

          Feldman-Barrett:<\/strong> I was\u00a0 seven (almost eight) years old when I first heard this song in 1979, and I loved it straight away. As an adult looking back on this moment, my initially enthusiastic first reaction to \u201cShe Said She Said\u201d kind of\u00a0 bewilders me on the one hand, as it doesn\u2019t seem the kind of Beatles track a little girl listening to Revolver<\/em> would necessarily enjoy. On the other hand, I\u2019ve always been drawn to a jangly guitar sound, which is so prominent in this song. I know it\u2019s been said that this was the Byrds\u2019 influence on the song, but I don\u2019t think I had heard the Byrds\u2019 music yet by this time.<\/p>\n

           <\/p>\n

          In any case, George\u2019s lead guitar line, which opens the track, commanded my attention to such a degree that I could not help but be intrigued by the rest of the song. Also, while the song showcases a dramatic change in rhythm and meter, it\u2019s nonetheless always been a Beatles song that makes me want to get up and dance. The lyrical content of \u201cShe Said She Said\u201d was not something I thought much about until I was a teenager. Being part of the Goth subculture during those years \u2013 and a Goth who hadn\u2019t abandoned The Beatles \u2013 I know the brooding, existentially angsty nature of the song\u2019s lyrics was definitely appealing. Despite its attractiveness to me at that time, \u201cShe Said She Said\u201d is a\u00a0 song that has traveled really well with me throughout my life. It always gels with or complements other music I enjoy.<\/p>\n

           <\/p>\n

          Since my sister held onto the Revolver<\/em> LP she bought for us in 1979, I ended up buying it on CD soon after watching The Beatles<\/em> Anthology<\/em> when it first aired on American TV in November 1995. I\u2019d play \u201cShe Said She Said\u201d on repeat in my car driving around Los Angeles, which is where I lived at the time. Since the song\u2019s origin story took place in LA, I suppose that was fitting\u00a0 \u2013 but, mainly, it made sense that I wanted to hear it a lot, given that I was also listening to Britpop bands like Oasis and Blur. There\u2019s such a clear A-to-B line from \u201cShe Said She Said\u201d to the sound of those bands, most all of whom cite The Beatles as one of their greatest inspirations. And it still remains my favorite Beatles song. There\u2019s something magical about The Beatles\u2019 early psychedelic songs that make me return to them again and again. For me, \u201cShe Said She Said\u201d has all the elements that make me love their mid-period sound best: catchy guitar lines, inventive drumming, and vocal melodies that always makes me want to sing along.<\/p>\n

           <\/p>\n

          For more information on Christine Feldman-Barrett, HEAD HERE<\/strong><\/a> or HEAD HERE<\/a><\/strong><\/p>\n

          Follow Christine on X (formerly Twitter) HERE<\/a><\/p>\n

          Follow Christine on LinkedIn HERE<\/a><\/p>\n

           <\/p>\n

          For more information on Jude Southerland Kessler and <\/strong>The John Lennon Series, HEAD HERE<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

          Revolver Side One, Track Six \u201cShe Said She Said\u201d   by Jude Southerland Kessler and Christine Feldman-Barrett   Through 2023, the Fest for Beatles Fans blog has been enjoying some time well spent with the songs on The Beatles brilliant […]<\/p>\n","protected":false},"author":8,"featured_media":9163,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[90,28],"tags":[59,111,122,117],"class_list":["post-9161","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-john-lennon-2","category-the-beatles","tag-beatles","tag-revolver","tag-she-said-she-said","tag-the-beatles"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcomments&post=9161"}],"version-history":[{"count":1,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9161\/revisions"}],"predecessor-version":[{"id":9162,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/9161\/revisions\/9162"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/media\/9163"}],"wp:attachment":[{"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=9161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=9161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}